For
some time now I have been working with particular musical cells which
I provisionally call cromes. Influenced by Messiaen's concept of music
as "coloured time", I gradually arrived at a patchwork technique,
wherein the component parts though, rather than being juxtaposed, are
connected to each other almost exclusively by fluid transitional passages.
These connections are so constructed that not all parameters of the tonal
texture change simultaneously.

A
crome is a characteristic acoustical event which is generally immediately
repeated several times. There are simple and complex cromes. The usual
case is that several simultaneously occurring cromes produce a texture
by their diversely varied overlapping. Reduction down to a single crome
or even silence is however also possible. A crome is seldom repeated in
an identical way - in contrast to the patterns of minimal music.

A
crome refers to nothing except its own presence in the passage of time.
Its purpose is only to be measured by the ear and appreciated in its qualities.
Any kind of sound can be made into a crome.

Form
arises through the prior establishing of a rhythmic structure (macrorhythm),
which is initially to be only roughly read. At this level too there is
repetition (isorhythm and isoperiodicity) as well as aperiodicity (linear
as well as chaotic growth and shrinkage of sequences of numbers). This
macrorhythm might occasionally appear clearly in the final version of
the score or it might not. It is fundamentally important to me that not
even the tiniest note value is either added or omitted.